Infiltration Art. Book manuscript in progress, requested for review by the MIT Press.


Your Art Here: Contemporary Art and Print Advertisements, 1964 - 1974 (2015)

Books &

Exhibition Catalogues


Essays on Jenny Saville, Deborah Kass, Kiki Smith, Louise Bourgeois, Sophie Calle, Miwa Yanagi and Zuka in Linda Nochlin, Women Artists: The Linda Nochlin Reader (New York: Thames & Hudson, 2015).

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“The Unbearable Lightness of Curating, or, How to Write a Curatorial Essay on Young Contemporary Artists that Situates their Work in the Annals of Art History While Also Resisting the Need for Such Contextualization,” in Senior Honors Studio, exhibition catalogue (New York: New York University Curatorial Collaborative, 2015). 

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EXPAND//FOLD//COLLAPSE: Sculptures by Marta Chilindron, digital exhibition catalogue, co-authored and edited with Susanna V. Temkin (New York: Institute of Fine Arts, New York University, 2014).

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"Dynamite Packed Thrillers, Joys of the Flesh, & Other Added Attractions: Reginald Marsh & The Golden-Age of Movies" online exhibition catalogue (New York: Museum of the City of New York, 2013).



“Exhibition History,” in Lyonel Feininger: At the Edge of the World, edited by Barbara Haskell, exhibition catalogue (New York: Whitney Museum of American Art; New Haven: Yale University Press, 2011). 




"Behind the Games: Street Art and Protest During the Mexico City (1968) and the Rio de Janeiro (2016) Olympics." Ridiculosa, no. 24 (Fall 2017).

“Mired in commercialization and corruption, today’s Olympics provide a pinhole perspective into the host nation’s culture, offering billions of television watchers postcard views while conveniently excising the disenfranchised citizens that live beyond. And though Olympic protests can be traced back as early as 1932, mismanagement continues, with overspending, bribery, shoddy workmanship, poor strategic planning, violence and marginalization remaining all too common in each successive host city.

This paper focuses on two of the most controversial Olympic Games and the widespread protests their scandals inspired: the XIXth Summer Olympiad in Mexico City (1968) and the XXXIst Summer Olympiad in Rio de Janeiro (2016). Despite being staged nearly fifty years apart, the 1968 and 2016 Games bear striking similarities: both faced prejudicial skepticism as the first Latin American and South American Olympic hosts, respectively; both were staged by a corrupt governments; both carried astronomical costs that mandated widespread budget cuts to social services; and both inspired fierce public opposition that was swiftly, and often violently, suppressed.”

"Art Everywhere: The Met's Little Known Collection of Advertising Art," In Circulation (November 25, 2015).

“Though little-known today, artist Terry Fugate-Wilcox made a major splash in the 1970s New York art world. Disgusted by the growing commercialization of the art market in the late 1960s, Fugate-Wilcox set up an elaborate hoax to expose the art world’s increasingly superficial and avaricious ways. He created a conceptual organization called the Jean Freeman Gallery, which included a fictitious address, phone number, bank account, and even imaginary artists. (Fugate-Wilcox created the work himself under the auspices of different artists’ names.) The gallery was substantiated by a series of bold, engaging advertisements placed monthly in all the major art publications, including Artforum, Art in America, and ARTNews. The hoax was a roaring success; his nonexistent exhibitions received positive reviews in prominent periodicals, leaving collectors clamoring to own a work by these (unbeknownst to them) nonexistent artists.”
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“The Art of Protest and the Year that Changed the World: A Study of the 1968 Student Demonstration Posters in Paris and Mexico City,” University of Toronto Art Journal (August 2011). 

“Considering the student-led protests in Paris and Mexico City in 1968, this study will argue that graphic art—in particular mass-produced silkscreen posters—provided the ideal platform for exposing corruption, rallying support and distributing information amongst protesters . . . Using bold single-color graphics, these signs developed a visual vocabulary of dissent—replete with raised fists, barred mouths, zombie-like eyes and helmeted police brutes—that helped to refine the character and ideals of the movement.”



Review of "Realize Your Desires: Underground Press from the Library of Stefan Brecht (2017)," (March 22, 2017). 

“We live in a country divided. Americans today are struggling to have frank, productive dialogues about politics, civil liberties, and social issues. Thanks to livestreaming and social media, our impassioned reactions, firsthand accounts, and official statements catalog each day’s debates in real time and on a vast public scale. While it is tempting to attribute our current state of the union to uniquely twenty-first-century problems—terrorism, technology, or globalization, to name a few—it is clear that neither these issues nor our reliance on real-time, real-talk commentary are new. In fact, America is presently grappling with many of the same challenges that affected it some fifty years ago, including racism, police brutality, sexism, and sexuality.”
Sonic Blossom performed at the Metropolitan Museum of Art, New York ® Julia Cervantes for The New York Times, 2015

Sonic Blossom performed at the Metropolitan Museum of Art, New York ® Julia Cervantes for The New York Times, 2015

“Overall, Sonic Blossom performs a delicate tightrope walk between the opposing poles of public and private experience. Though set in a civic space filled with visitors, the performance only directly engages a single person. Consequently, it reflects a fundamental fact about human experience: the moments of greatest significance in our life—occasions of celebration, mourning, triumph and adversity—are the most conventional. Countless others have encountered near identical situations in the past but any given episode feels fresh and meaningful because it is happening to us and it is happening right now. Sonic Blossom embodies this truth by harnessing the affective power of classical music, which has been scientifically proven to heighten our emotional reaction to visual stimuli, to its fullest extent. The result is an affective communion between two people rarely witnessed in our hectic everyday lives.”

Lectures &

Papers Delivered


The Medium is the Media: Protest Art and the Infiltration of Postwar American Periodicals, International Conference at El Museo Nacional Centro de Arte Reina Sofia, Madrid, November 30, 2018.

Newsstand Conceptualism: Contemporary American Artists, Periodicals and the Democratic Dissemination of an Artistic Idea, International Association of Word and Images Studies Triennial Conference, Lausanne Switzerland, July 13, 2017.

Self-Destruct: The Renounced Works of John Baldessari, Carl Andre and Donald Judd, Spring Fellows Colloquium, The Metropolitan Museum of Art, New York, March 31, 2017.

Benglis vs. Artforum: Vulgarity, Censorship and the Print Advertisement as Contemporary Art Object, Association of Art Historians Annual Conference, Edinburgh, United Kingdom, April 8, 2016.

Riotous Conceptualism: Satire, Commerce, and Advertising in Conceptual Art, Spring Fellows Colloquium, The Metropolitan Museum of Art, New York, April 1, 2016.

Art Inc.: Satire, Commerce and Conceptual Art, Popular Culture Association/American Culture Association National Conference, Seattle, March 23, 2016.

Ego-Seums or Jewel Boxes? The Contradictory Nature of Tax-Exempt Private Museums in the Twenty-First Century, College Art Association Annual Conference, Washington, D.C., February 6, 2016.

Artists, Advertising and Audacity: Lynda Benglis's Infamous Artforum Spread and the Controversial Role of the Female Body in Contemporary Art, The Rutgers Art History Graduate Student Symposium, April 10, 2015.

Your Art Here: Print Advertisements and Contemporary Art, 1964 to 1980, Works in Progress Lecture Series, The Institute of Fine Arts, New York University, October 21, 2014.

Your Art Here: Print Advertisements, Imaginary Galleries and Contemporary Art, 1964 to 1971, Parsons/Cooper Hewitt Graduate Symposium, April 11, 2014.

Learning to See: The Art Museum Goes to College, jointly presented with Katharine Learned, Director of Facilities, Northfield Mount Herman School, at the Society for College and University Planning North Atlantic Regional Conference, April 12, 2012, and the Mid-Atlantic Regional Conference, April 17, 2012.

The Art of Protest: A Study of the 1968 Student Demonstration Posters in Paris and Mexico City, University of Toronto Graduate Symposium, January 28, 2011.



Modernism is Nothing, guest lecture in graduate course on "Nothing" in the Interactive Telecommunications Program, Tisch School of Arts, New York University, March 20, 2018.

Postmodernism is Nothing, guest lecture in graduate course on "Nothing" in the Interactive Telecommunications Program, Tisch School of Arts, New York University, April 16, 2018.





Career Panel: What to Do After the MA, Discussant, The Institute of Fine Arts, December 13, 2017.

Visions for the Greater Good: Three Leading Perspectives on Art, Collecting and Philanthropy, Organizer and Moderator, The Institute of Fine Arts, March 21, 2017. 

Infiltration Art, Co-Convener, College Art Association Annual Conference Panel, New York, February 16, 2017.

Alumni Career Panel: The Art Market, Moderator, The Institute of Fine Arts, April 28, 2015.

New York University Curatorial Collaborative Artist and Curators Panel, Discussant, The Institute of Fine Arts, March 6, 2015. 




Andrew W. Mellon Postdoctoral Curatorial Research and Collections Specialist Fellowship, Department of Modern and Contemporary Art, The Metropolitan Museum of Art (2015-2017).


Institute of Fine Arts Nominee for NYU's Outstanding Dissertation Award (2015-2016), Lila Acheson Wallace Scholarship (IFA), Robert Goldwater Fellowship (IFA),  Eleanor Pearson Travel Grant (IFA), Leon Levy & Shelby White Travel Fellowship (IFA), Dean's Student Travel Grant (NYU).


Cum Laude, Williams College (2007), Berkshire Art Fellow, Berkshire Art Association (2007), Art History 1960s Scholar, Williams College (2006-2007), Kraft Alumni Sponsored Intern, Williams College (2006), Dean's List, Williams College (2003-2007).



Steering Group Member, New York City Digital Art History Initiative.

Member, College Art Association (CAA), American Alliance of Museums (AAM), International Association of Word and Image Studies (IAWIS), Popular Culture Association/American Culture Association (PCA/ACA),Catalogue Raisonné Scholars Assocation (CRSA). 



Guest Critic, Interactive Telecommunications Graduate Program, Tisch School of the Arts, New York University, March 2018.

Editor,, an online platform for critical and scholarly writing on contemporary art, 2015-2016.

Juror, Alternative Avenues: The 95th Annual Exhibition of the American Society of Contemporary Artists, Winter 2012.